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Remembering The Kana - Part 1+ 2 - Hiragana + Katakana
Remembering The Kana - Part 1+ 2 - Hiragana + Katakana
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REMEMBERING
THE KANA
THE HIRAGANA
Wsm
James W. Heisig
Part One
HI RAG AN A
James W. Heisig
General introduction vn
Hiragana 1
Lesson i 51
Lesson 2 55
Lesson 3 57
Lesson 4 60
Lesson 5 62
Lesson 6 65
General introduction
The aim of this little book is a simple one: to help you teach your-
self to read and write the two Japanese syllabaries, the hiragana and the
katakana, in three hours each. By “three hours” is meant three cumulative
hours of hard work, not three continuous hours of unbroken study, and
certainly not three hours in a classroom with a teacher and other students.
The two parts of the book, set back to back, follow the same method, arc
laid out in the same format, and share common tables in the middle of the
volume. Readers who already know one or the other of the syllabaries com-
pletely can pass it over and go directly to the part they wish to learn. If you
are a newcomer, you should begin with the course on the hiragana before
flipping the book over and tackling the katakana.
The syllabaries are arranged in their “dictionary order," not in the order
in which you will learn them. Following the instructions on each page will
send you skipping forwards and backwards as you make your way through
each lesson. In Lessons 3 to 5 of the hiragana course you will be taught a
simple way to remember the dictionary order, which is indispensable for
consulting Japanese dictionaries.
If you have already learned a few of the hiragana, you might be tempted
to chart your own course. Don’t. You would be better advised not to use the
book at all than to try to guide yourself through the labyrinth of this book.
The method builds up step by step, and you will need the principles taught
at the earlier stages to follow the directions given later. If you must, rush
quickly through the material you already feel comfortable. But rush through
After each lesson, you will asked to take a break. This is meant to increase
your efficiency and to help you concentrate all your attention on the task at
hand for short periods of 30 minutes or less. If you were to do two lessons a
day, you could complete the six lessons on the third day. This seems the
ideal way to proceed.
the syllabary in question. You will be given instructions at the end how to
When you have finished the book, do not forget to read the Prologue
that follows Part two. There you will find help with tackling the study of
the final hurdle in your study of the (apanese writing system: the kanji.
This does not mean that all the sounds of Japanese exist in English, or
that the familiar letters of the Roman alphabet refer to precisely the same
sound in Japanese that they do in English. The only way to learn how to
pronounce Japanese properly is with the aid of a native speaker. In this
book pronunciation is only indicated by a rough equivalent to English (or
more precisely. General American).
Using the hiragana and katakana correctly will require skills that
no Western language is equipped to provide you with. These arc matters
that fall outside the scope of these pages. Still, it is helpful to have a general
idea of what is involved and why.
When the Chinese writing system was introduced to Japan around the
sixth century ce, there was no native system of writing for it to replace or
merge with, and the sounds of the language were quite different from the
those the Chinese and Korean settlers were accustomed to. The only solu-
tion was to assign each sound a Chinese charater, or kanji, to approximate
the pronunciation. For several centuries a catalogue of some 970 unmodi-
fied Chinese characters, or kanji, were used as phonetic symbols for the 88
syllables then used in the Japanese language.
As early as the middle of the eighth century some of these kanji were
given a “rounded” or “common” (hira) form based on brush calligraphy as
“substitutes” (kana) for some of the more widely used Chinese letters. Dur-
ing the early middle ages of Japan's Heian period (794-1185), a style of writ-
ing using only these forms came into use, creating the first phonetic
syllabaries with a one-to-one relationship between sound and written form.
Initially it was used only by women, but by the early tenth century was rec-
ognized as an official way of writing, namely, the hiragana.
Today the hiragana are used for writing indigenous Japanese words, for
adding inflections to words written with kanji, and for writing words whose
kanji are rare or at least outside the standard lists taught in the schools.
The forms of the katakana also derived from Chinese kanji, but unlike
the hiragana they were based less on calligraphic writing than on the extrac-
tion of a “part” (kata) of the full kanji to represent particular sounds. These
forms were written in a square, blocked style to set them off still more from
the hiragana. From the ninth century, the katakana appear in use as a
mnemonic device for remembering how to pronounce Buddhist texts writ-
ten in Chinese. Only much later, in 1900 to be exact, would they be stan-
dardized for the writing of foreign loan-words and onomatopoeia. Until the
dawn of the computer age, they were also used for telegrams.
My name is Maria.
IX
Obviously, the only way to attain fluency in written Japanese is to learn all
three forms of writing. This little book should get you well on your way.
James W. Heisig
1 April 2003
The course that follows is intended for self study. It did not grow
out of classroom experience and is not intended for classroom use. For one
thing, I am not a language instructor. All my students are Japanese, and
they knew the hiragana by the first grade or before. 1 did not absorb myself
in research on the Japanese syllabaries, survey existing methods, draft a set
of mnemonic techniques, test them out systematically on a group of stu-
dents, carefully record the results, and only then deliver a completed manu-
script to the publishers. But neither did the idea occur to me on my own.
The facts of the matter are a lot humbler: 1 wrote the book on a dare.
Fortunately, the chore turned out to be a lot easier than I had antici-
pated, and the basic text was completed in a few days. Once you have
finished the task yourself, I am confident you will see how really simple the
idea behind it is.
But enough of how this book was written. It is time to begin, following
the instruction in the box below.
GO TO PAGE 51
Part One
HI RAG AN A
You should now be in the middle of Lesson i. If you are not, go at once to
pages' and start from the beginning.
The syllable a begins with a dagger, its "blade” bending to the right so
as to flow into the next stroke. Below it a no-parking sign. (Note that
when <0 is used as a “piece” of another hiragana, the cross-slash pro-
trudes out the top slightly— a kind of “post” to hang the sign on.)
* f fa
PRONUNCIATION
on | father
bos ano
£>< aku
blfos akeno
J5 £
35 35 3s
The roman letter i is drawn with two strokes, one main stroke and a
dot to cap it off. So is the hiragana we are going to learn now. The
first strokes of the two are almost identical. And just as, when you are
writing quickly, the dot on your i often ends off over to the right, so is
the second, shorter stroke of the hiragana always set to the right.
When you practice writing the form, take a pencil and trace over
the strokes as they are given below. Almost immediately you should
“feel” the flow from the first stroke to the second. After practicing the
form once or twice on blocked paper, test yourself on the examples
that follow below.
i O'
PRONUNCIATION
graffiti I king
t'A/
— ► GO TO PAGE 8
V' V' i\
First the pieces. The short first stroke we will take to be a puppy’s tail
Below that is o, the incomplete 2 (pronounced, remember, tsu).
9
PRONUNCIATION
Ulm | Udine
^ "3 r>
9 5 9
«- 18
— * GO TO PAGE 17
The pieces for the syllable e are a tail, a chalk line, and the letter n. Let
the sound suggest an ape. And what is our ape doing? He has drawn
some chalk lines on the floor of his cage to make boxes like the ones
you are using to practice your hiragana, and is using a puppy’s tail
(attached to the puppy!) to practice brush painting the hiragana e.
JL
ttx.
r
X
PRONUNCIATION
paint I neigh
“Z
^01
m -+ h'
is
This hiragana is not as difficult as it might look, once you isolate the
elements that make it up, fix them clearly in an image, and then,
keeping that image in mind, let the tip of your pen flow with the nat-
ural grace of its form.
The vowel o will suggest to us the figure of Old Nick, the devil him-
self. Unlike usual pictures of the devil, this Old Nick has not one but 2
(tsu) tails, each with a sharp dagger at the end. Note how he lashes
them about menacingly.
* b &
PRONUNCIATION
over | foe
m n &
as * a
iSfC
is A /ft
<—21 — ► GO TO PAGE 58
KA
J&'
The ka of this hiragana provides the key word, car. It is really made of
two pieces, one familiar and one new. The puppy dog’s tail, drawn
last, you already know. The part drawn before that is no more than a
fancy sort of dagger, its hilt is bent and lengthened like the hilt of a
fencing sword. So you might think of two cars (preferably your own
car and a neighbor’s) decked out in all the appropriate gear and hav-
ing a fencing contest.
0' t> 7) v
PRONUNCIATION
mannaka
mukac
kannon
Inca | calm
tl n ft
It & ft
-* $
KI
The only real difference between the first three strokes of this hira-
gana and the dagger is the extra horizontal stroke. The reason is that
what we have here is a long, heavy sword, which needs a sturdier hilt.
Below it is the hairpin we just learned. The identifying word is, of
course, a key.
- - %
PRONUNCIATION
key | lucky
3 f £
kin
3 = ^ 3
V'#
iki
aki
* GO TO PAGE 55
KU
>K -* i.
<
<
PRONUNCIATION
< c c
KE
It | 5+ -»
This hiragana is made up of two pieces. On the left, and drawn first, is
a single slightly curved shape that looks like a cape you might hang on
the back of a stick figure. (Draw one see for yourself.)
t I* tt
PRONUNCIATION
It I/' kei
©It noke
It A/ 1' ken’i
cape | kangaroo
CJ Vt t-V
It » It
KO
a -*• z
Try drawing a pair of rounded combs, the kind a woman might use
to bind her hair into a bun. The first two strokes you would begin
with (the frame, without the teeth) form the very shape that give us
our next hiragana pronounced, conveniently enough, ko.
Notice the slight hooking at the end of the first stroke. It is absent
in “cleaner,” more modern stylizations of the hiragana and is not
absolutely necessary. In any case, you will find that when you write
the hiragana for ko, the little hook forms itself naturally as your pencil
flows from the first stroke to the second.
PRONUNCIATION
comb | rococo
► GO TO PAGE 22
10
£ *
SA
Beneath the familiar dagger is the lower half of the component for
comb. Let us call it a hairpin to remember the similarity of form. The
key word here is a sock, a particularly old and raunchy one that some
lady of questionable taste has stuck in her hair using a dagger as a
hairpin to hold it in place.
** 3
rd strokes run
hand-drawn
strokes natu-
PRONUNCtATtON
samurai | sock
cn
c* * <5
<SV'
kusai
kesa
<— 16 — > GO
TO PAGE 7
11
SHI
2 C
PRONUNCIATION
sheep | pushy
shima L £
sushi ■+■ L
C L L
L L L
<—63 — ► GO TO PAGE 35
12
su
t K ^ ~r
The key word from the syllable su will be soup. Attached to the dagger
is a little curl which is in fact a single piece of macaroni. (Note how it
differs from the boomerang by curling downwards and to the left.) All
that remains is to imagine yourself at a posh restaurant stabbing at
the macaroni noodles in your soup with a stiletto. Look! You’ve got
one on the end of your dagger !
PRONUNCIATION
soon | suit
1 * *5
V & ^
<rt
irb
<- 24
GO TO PAGE 33
13
SE
-t*
Se is for seance, a picture of which we will draw with the simple ele-
ments that make up his hiragana. First we have two daggers, drawn so
that their hilts share a common, horizontal line. The last line, extend-
ing the blade of the second dagger, is the familiar chalk line.
Putting it all together: you draw a chalk line circle on the ground
and sit in the middle of it. With each hand you drive one of the dag-
gers into the chalk line and keep a hold of it, thus joining you to the
magic circle within which the spirits will reveal themselves. Or some
such hocus pocus. The dagger to the left is already in the ground: the
one on the right is just about to be plunged in.
- ■£
PRONUNCIATION
say | wholesale
arimasen £>*)£■£ A
setsu -So
sei -tirt'
a v tt
u v
14
*
i -+ <
[] so
PRONUNCIATION
sew | insole
« *
? *
2-
^ <*3
-r-t
hesokuri
someru
•*- 19
— * GO TO PAGE 37
15
TA
* -*• r.
tz
Before going on to the next paragraph, see if you can recognize the
pieces of this hiragana on your own. We learned them back in Les-
son i....
That’s right! On the left is the dagger and on the right the comb.
The sound ta should suggest the word top to you easily enough.
Imagine a top delicately balanced and spinning around on the point
of a dagger you are holding in your hand. As the top spins, it spits out
rounded combs like the kind we first pictured when we learned the
hiragana ~ . The more vividly you “see” yourself ducking the combs
flying at you, the easier this hiragana will be to remember.
* t P tz
tako
tachi
ItZ
1th
PRONUNCIATION
tatami | top
39 — * GO TO PAGE 11
16
Let the identifying word here be cheese, probably the first word to
come to your mind anyway very convenient for making a good, dear
image out of already familiar pieces: the dagger and 2. All you need do
is imagine yourself drawing out your razor sharp dagger from its
sheath and slicing yourself a piece of cheese with 2 (tsu) swift slashes,
like a cavalier, culinary Zorro.
PRONUNCIATION
otb tsuchi
<T> h nochi
h/u chin
<— 3 -* GO TO PAGE 39
■* t *5
tS
17
TSU
O'
koitsu
atsui
Cl'o
PRONUNCIATION
0^0
O J
18
TE
PRONUNCIATION
JtTV'
TA/#A/
ax
T ~l Z.
Z -z z
I 35
GO TO PAGE
*9
TO
Can you see the walking stick sticking out of the big toe in this form?
Obviously the user is not very adept at walking with a cane yet! This
hiragana should look like a doodle of someone jabbing a walking
stick into his or her big toe. The only other thing you need to notice is
that the toe points the opposite direction from the finger we met in
the former hiragana.
V £
PRONUNCIATION
tokoton
hato
toro
Er. — * GO TO PAGE 4
toast | toe
t £ c
t z £
20
ft
& -► fc
NA
Clear your mind of everything before you begin this page. It is impor-
tant that you form a very vivid image now to avoid confusion with
the last hiragana we learned.
Let the sound na suggest a door knocker, one of those eerie gothic
figures fixed to the middle of a heavy, oaken front door on a haunted
house. See the little tail hanging on it? Give it a tug and daggers start
flying out — a far cry from your usual welcome mat! But you take
your distance and take aim with your trusty boomerang, throwing it
again and again until you manage to break the ghastly contraption.
When you form your image and write the hiragana, you should try
to follow the order of the pieces: dagger . . . tail . . . boomerang.
t t"
&
PRONUNCIATION
knock I not
U «c
tun
ti
fcA,*
Hanako
<“ 38
— ► GO TO PAGE 5
21
NI
On the right side you see the hiragana we just learned for C. . But here
the combs are out of the hair and glued firmly on to your kneecaps,
one on each side, so that when you put your legs together, the teeth of
the combs interlock and you have a devil of a time getting your legs
apart. Now imagine pulling your cape around from the back and
holding it between your legs to keep the combs from linking.
Close your eyes for a few seconds and let the image take shape,
focusing first on the kneecaps and then on its composite pieces, the
two combs and the cloak. Now open your eyes and look at the hira-
gana. You should be able to “see” the image before you. The next
time you hear the sound ni, the whole ludicrous scene should come
back to life for you.
i r
kuni
11
PRONUNCIATION
c c 12
IZ Iw 12
«— 10 — ► GO TO PAGE 53
22
->■ ^
NU
This character will take about as long to learn as it takes you to read
this short paragraph. The maypole has a nude statue spinning around
on it, tossing boomerangs at passersby in the park. The nude supplies
the key word for the syllable mi.
PRONUNCIATION
nuclear | annuity
* <6 %
<& to
<“ 34
GO TO PAGE 43
23
NE
te
Imagine yourself at a tedious academic convention where, to fight off
boredom, you and a few colleagues have folded your nametags (the
ne sound) into boomerangs in order to coax a swarm of wasps down
from their nest in the rafters — and perhaps put a little life into the
proceedings.
PRONUNCIATION
nay | neighbor
fe +3 te
U te te
24
NO
''•CD heno
CD A, CD nonno
<cd kuno
25
d% <T) G)
0) (O (J)
HA
1 1
The key word for the sound ha will be the children’s game of hop-
scotch. The first part of the character looks exactly like the cape and
dagger we already met. The tiny loop at the end is a boomerang,
shown here “looping” its way back to the one who threw it.
( !- U
PRONUNCIATION
shop | harlot
hanko 14 K/Z.
hara 14 h
haiku 14V'<
I? \t car
B « u
► GO TO PAGE 30
26
HI
The key word for this hiragana, heel, is nothing more than a doodle
of a pair of handlebars (drawn into that shape by putting two X back
to back). Instead of wearing spurs on the heels of one’s boots, would
it not be more fitting for modern men and women to wear little
motorcycle handlebars that snap on the back of the heels just the way
the spurs used to for the cowboys?
PRONUNCIATION
CM'# hiiki
OiHh himawari
<—65 — ► go to page 36
heap | she
Xt V D-
U t> O
V
The key word, fool, characterizes someone asked to show how many
puppy tails there are. He answers 2 (tsu), because he doesn’t notice the
third one on top of his head.
Think of the piece for 2 as “flowing over” into the second tail so
that you are not tempted to let it swoop downwards (as in the hira-
gana o ). The curves of the final two tails also flow naturally from the
order of strokes.
> ^
Resist the temptation to learn this hiragana after the simpler model of the
typeset character, even if that form seems closer to what you end up with
when you write quickly.
PRONUNCIATION
funsui -S'X/i'V'
sofu -t-S*
32 “+ GO TO PAGE 45
fool I food
28
-"V-.
HE
A,
Not forgetting what was said in the Introduction about the vowels
generally being shorter in Japanese than they are in English, you can
think of this next hiragana as a small haystack, which it rather resem-
bles and which, happily, also provides a link with the sound.
PRONUNCIATION
hay | jhame
HO {£ -»
ii 15
The key word hoe, a nearly perfect homonym for our next hiragana,
is composed of hopscotch (which we just learned) with an extra hori-
zontal line at the top. The added line represents in fact the chalk lines
on the hopscotch court.
Only the game is played slightly differently here. You stand with
your two feet on a hoe and try to jump not between the chalk lines but
right on them, hopping about as if on a pogo stick, trying to land on
the chalk lines and kick up the white dust to prove you succeeded.
i r
IM
hori lit)
hon liA/
aho ifcli
PRONUNCIATION
hoe | hoary
® 15 a
IS ‘S 15
MA
The key word is almost too obvious to mention: mama. The dements
that make it up are no less obvious. They combine the sword and the
boomerang. The image is not hard, provided you have a distinct pic-
ture of mama in mind: She is standing in an open field throwing
large, heavy swords that are bent like boomerangs so that they fly back
to her. Watch her ducking to avoid getting hit by the things as they
whizz by.
PRONUNCIATION
mama | motley
f i ^
^ S
io
A/M A/
matsu
mannin
<—30 — ► go to page 38
31
MI |H -> 1
The syllable mi easily enough suggests the word meat for an identify-
ing key word. If you look closely at the shape of this hiragana, you
will notice that it begins with the 7 dwarfs, who are throwing boom-
erangs at kangaroos, and then carving them up for steaks with their
dwarfish little daggers.
GO TO PAGE 28
nomimasu
9t
fo * A
32
MU
Our key word will be moon, the bright, full moon glistening in the
autumn sky — just the right time for a witch’s brew. Under the
moon’s light, you are boiling a large kettle of soup into which you
are tossing puppy tails and hairpins. You will have to let this image
“stew” in your mind a while so that the soup’s ingredients take on
unforgettable qualities.
The first stroke of soup is shortened because it has to compete with
other pieces for the available space. The curl at the end turns right, of
course, because it has to blend into the element for hairpin.
* t 1’
PRONUNCIATION
moon | samurai
tr*) muri
tfo mutsu
—tf komu
£ £
33
ME
tsb
OJ6
PRONUNCIATION
may | inmate
ft & &)
4— 6l — > GO TO PAGE 23
34
^ -*> t
MO
Let the key word here be mow, and the image that of a mighty sword
covered with hundreds of tiny fishhooks, which you are using to mow
the weeds on the bottom of your pond — and maybe and catch your-
self a few fish in the process.
t) t) *
PRONUNCIATION
><D kimono
felt h mohan
mochiiru
mow | remorse
tn
t ^ ^
35
YA
& -> ^
Let the key word for the syllable ya suggest to you your own backyard
more specifically a flower bed or garden there. You are kneeling
down on the ground, planting puppy tails in the soil, pushing them
down with your walking stick until they are all the same height,
exactly one index finger long.
Note how the short vertical stroke we used in the hiragana for yu to
begin the form for finger is left out here because it would overlap
with the walking stick.
When you draw this character, rephrase the image verbally by put-
ting the pieces in order: finger ... tail. . . walking stick.
-o
yamato
yakusa
yahari
PRONUNCIATION
yacht | cognac
* *
36
tp
a -> ^ yu
Think of the famous u.s. Army poster that reads “Uncle Sam Wants
you” when you hear the syllable yu. Now focus on the finger pointing
in your direction and note how the first stroke of this hiragana is a
picture of an index finger (a little stubby, I admit) with the lead-in
stroke representing the thumb. The final curved line you might think
of as a string tied around the finger reminding Uncle Sam not to for-
get that it is you he wants. Note how the string flows in naturally
from the previous stroke, winding itself around the finger.
40 Vfi
PRONUNCIATION
cure | fury
ayu
yurai
yuki
V/7 \t>
IJ) f p
«- 15
— ► GO TO PAGE 20
37
YO
The first English word that comes to my mind (and I hope to yours)
when I hear the sound yo is yolk. The pieces we have to work with
here are a puppy dog's tail and a very, very long boomerang (the full
vertical stroke is part of it).
You can “read” the image like this to get the order of the strokes
correct: people tossing yolks at puppies flying overhead, their tails
strung through long boomerangs.
* Jc
iitt'
<tr
yokei
yoko
yon
yolk | mayonnaise
* £ &
& Jt j;
21
38
& -► &
RA
l b
PRONUNCIATION
rocker | rah
4 => *=>
6*5
hera
hetsurau
39
To begin with, let the sound ri suggest the figure of the Grim Reaper,
the ominous cloaked figure with a long sickle slung over his shoulder.
The cloak you already know. The long stroke to the right is the sickle
he uses to reap his morbid harvest. As you draw the hiragana, say to
yourself: “See the Grim Reaper with his cloak and 1-o-n-g sickle.”
i l }
Typeset forms of this character often have the two strokes linked together, hut
it is best to learn it according to the hand-drawn model above. It will help
you get the proper “feel" for the natural flow of the hiragana in a way that
more stylized variants may not.
PRONUNCIATION
eerie | read
riku 9<
heri ^9
nori <09
«— 55 — > GO to page l8
') l l (■)
o 5 y
40
RU
£
The pieces that make up this hiragana should literally jumps out to
your eye: row, row, row your boat and boomerang. The syllable ru will
take roof as our key word. You rip the roof off a nearby doghouse,
turn it upside down and, using a boomerang as your oar, row, row,
row your boat ever so gently down the stream ....
PRONUNCIATION
Z 2 )
& 5 3
<— 43 — ► GO TO PAGE 44
41
RE
•I H
hore II tl
nureta
noren
44 — > go to page 24
rail | crates
H -\i
11 *L 11
42
Here we meet the longest key word in the book, for the shortest and
simplest of images. If you have never had any trouble remembering
that there are 3 row’s in “Row, row, row your boat...”, you won’t
have any trouble here either, since the hiragana pronounced ro is
written with a shape almost exactly the same as the numeral 3.
PRONUNCIATION
rotund | petrol
43
WA
fc>
The next three hiragana we will learn combine two pieces, both of
them new. The straight vertical line in the first stroke (which does not
“bend” or “hook” to one side or the other, as the cape does) will be a
walking stick. The figure 7 drawn next will stand for the 7 dwarfs.
■I
awa i bt>
wataru ;bfc 5
t) t>
*> I )
44
wo
The last of the hiragana (followed in the dictionary order by the very
first one we learned) is in some ways the “cutest” of the lot. It might
also look to be the most difficult, but as you have surely learned by
now, looks can be deceiving. The only strain, if you can call it that,
will be to recall the key word: I’m wo.k., you’re wo.k. And the reason
that we are both wo.k., as the pop psychologists tell us, is that we treat
one another with plenty of t . l . c . (“tender loving care”).
~~ %
PRONUNCIATION
£ « £
Aj
The first of the hiragana forms we shall learn is also the easiest. It is
exactly like the cursive form of the roman letter n (k ), except for the
longer stem.
A/
sing | kung-fu
A, A h.
fx A- /l
+“53 ► GO TO PAGE 2
46
VOICED MARK
As shown on the tables on pages 68 and 69, when used with sounds
in the ka row (ka, ki, ku, ke, ko), the consonant is read ga (giving us
ga, gi, gu, ge, go). Similarly sa becomes za (and so forth), to becomes
da, and ha becomes ba. You should be able to feel the voiced effect
vibrating inside your throat. For all practical purposes C and ^are
both pronounced the same (ji), just as and ^ are both pro-
nounced zu. A number of examples are given below.
tsuzuku o*5<
The two lines of the voiced mark are always written last, after the unvoiced
hiragana has been completely drawn.
4-45 -+ GO TO PAGE 48
47
PLOSIVE MARK
kanpai
enpitsu x.A/0^0
senpu •fir/vAJ
inpei
pokari ISA 11 ?
3
48
Lessons
The placing of the elements will aid you later in reviewing. By opening
the book part way, you can page through and see only the romanized form,
leaving the actual hiragana hidden from view.
® The original Chinese character (or kanji) from which the hiragana in
question is derived.
You should not attempt to memorize the information in this frame now,
though at a more advanced level you may find it interesting and helpful for
learning the pronunciation of the original kanji.
At this point, if you haven’t already done so, secure several sheets of
blocked paper with blocks at least t cm. (1/2 in.) square. You can find them
at any stationery store. This will help you keep the shape of your hiragana in
proper balance much better than practicing on blank or simple lined paper
will.
One more thing. Take a look at the clock and make a note of the time. In
less than 30 minutes from now you will be asked to record the time you
have spent on these first 9 hiragana in the box provided below.
Just above you will see a small box marked Time: lesson 1. Record there
how long it took you to complete this first lesson. We will do this at the end
of each lesson.
A word about reviewing. If you took your time with each hiragana as you
came to it, if you practiced writing it several times, repeating the explana-
tion to yourself as you went, and if you tested yourself on all the sample
words, there should be no need to retrace your steps. If you do get stuck,
turn to the Alphabetic list on page 70, locate the problem hiragana, and
go through the page all over again, top to bottom. Whatever you do, do not
waste your time writing any of the hiragana over and over again.
In case you are wondering whether learning to write the hiragana will
also mean that you know how to read them, 1 can assure you that it will. Let
53
me show you how easy it is. Try reading aloud the following six words:
<l£ z<o
All the sounds we have learned so far are contained in these words. Once
again, do not worry that you don’t know what they mean; the only thing we
are after here is learning the syllabary.
If you were planning on heading right into Lesson 2, change your plans
and take a break now for at least 30 minutes. Go out for a walk or stretch
out on the sofa. Your mind has been watching images fly around like shut-
tlecocks and should be a bit dizzy just now.
END OF LESSON 1
54
Lesson 2
Now that you are refreshed, we are ready for Lesson 2 . Just to flex
your muscles a bit, write the hiragana for the following words
iken noku
inko ahen
kuni kono
The answers, if you didn’t catch on, are on the top of the previous page. But
let us not linger on what you do know; it is time we were back concentrating
on what you do not.
This lesson will take 8 hiragana, including some of those most easily
mixed up by the beginner because of similarity of form. As we shall see,
careful attention to the pieces out of which they are constructed will spare
you the confusion.
— ► GO TO PAGE 40
That’s it for the 8 hiragana of Lesson 2. Record your time in the box above
and get ready for another break. But first a bonus for making it this far.
In the General introduction mention was made of the fact that the
hiragana are laid out in this book in their “dictionary order." Since this is
55
not the best order for learning them, you are having to hop around from
place to place. Eventually you will need to memorize the dictionary order so
that you can look words up quickly in Japanese dictionaries. To help, I am
going to set the order to a little ditty that should make it just about as easy as
it can get.
Frire Jacques,
Frere Jacques,
Dormez-vous ? Dormez-vous?
Sonnes les marines,
Let’s take the first line and change the words to the following four syllables
Just the first line for now. Let those four syllables resound inside your head
for the rest of the day to the tunc of“Frere Jacques." Whenever you’ve got a
spare moment, sing them to yourself. In later lessons we will learn the rest
of the jingle and also find out what it all means. Right now you don’t have
enough hiragana under your belt to make the explanation stick.
END OF LESSON
56
Lesson 3
Here we are over, one-third of the way through the hiragana, and
you are probably well ahead of schedule. Just to make sure that you are
going at it properly and not getting ahead of yourself, let’s take a minute to
lay out the principles behind the learning you have been up to so far.
Actually, you have been guided through a series of four stages, which can
be summarized as follows:
2. This word associated with the hiragana by sound, which we will refer
to from now on as the “key word,” is linked to an image that is con-
nected either to the shape of an alphabetic letter or to a picture associ-
ated with the key word.
Everyone’s mind works differently, but one thing is the same: even when
your mental powers are running as efficiently as they can, your mind will
occasionally trip over its own feet and trick you into thinking you know
something that in fact you do not. The lessons have been kept short to min-
imize the effects of a loss of concentration. But even so, there may be partic-
ular hiragana you have trouble with. Have a good look at them to see which
of the four stages your mind tends to ride roughshod over. Then pay it
more attention in the future.
There is no point retracing our steps, but just to make sure you have the
idea, see if you can identify the key words (stage 1) for the following hira-
gana syllables:
You shouldn’t have any trouble here, but just in case you do, turn to the
Alphabetic list op the kana on page 70 to find the location of the sylla-
ble and refresh what you learned there. While you are at it, you might mark
off those already learned. In fact, if you haven’t be doing it already, you
might also mark the pages that you have already worked through. That way,
if you decide to test yourself, it will be easier to identify what you should be
reviewing.
We will focus on the other three stages in subsequent lessons, but try to
be more conscious of them at work as you study the hiragana of this lesson.
Have a look at the clock, mark down the time, and let us be off. .. .
Time: lesson 3
And so it goes with Lesson 3. Don’t forget to record your time above.
No lesson will be as hard as this has been. From here on, it’s all downhill,
so keep to your schedule and don’t let up on your concentration. The les-
sons are short enough as it is, but you can’t afford to get in too much of a
rush and skip over any of the 4 stages we explained on the previous page.
How have you been doing with our little ditty? Can you still recall the
first line? You had better, because now it’s time for a second line.
Try singing both lines, one after the other, until you have the words and
melody fixed in your mind. Then just croon away at it during the day and
58
once more before you fall asleep. In the morning you should find yourself
waking up to it, and then we will be ready for the final line.
Meanwhile, it’s time for another breather. If you decide you cannot stop
yourself from reviewing (and if you took the advice about marking off the
pages already learned), you might try opening the book just enough to see
the romanized reading and see if you can write the hiragana learned so far.
59
Lesson 4
If you have time now, you might even run through the hiragana you
know to test it out. (Use the Alphabetic list on page 70 if you took the
time in Lesson 3 to mark off the hiragana already learned.)
If you are in a hurry to get on with Lesson 4, then at least take a moment
for a quick test. See if you can conjure up the keyword and then the image
for the following syllables:
yo i ma
It is time we are on our way again. Have a look at the clock, and dig in
your heels for what many consider to be the most difficult of all the hira-
gana. You will be surprised how a little thoughtful organization on my part.
60
and an extra moment spent making a clear and vivid mental image on
yours, can help you breeze through them in no time at all.
— ► GO TO PAGE 34
Time: lesson 4
Seventy percent of the journey is over, and you have good reason to
rejoice. Mark down your time in the box above and take a good long break
this time. You might even wait until tomorrow to do another lesson just so
you don’t glide too fast downhill through the remaining hiragana and for-
get to pay attention to how you are learning, which is almost as important as
what you are learning.
To keep you company, here’s the third line of the “Frire Jacques” song
we have been playing with:
Until later....
END OF LESSON 4
Lesson 5
The hiragana in this lesson are none of them very difficult, but
they all require a clear mental image (stage 2 which we reviewed in the pre-
vious lesson). This time, let us concentrate on the role of stage 3:
Focus on those parts of the image that represent parts of the completed form.
This sounds so simple that you might have been tempted to overlook it. But
there is more than meets the eye.
When you form your first image, your mind will generally be ruled by
mere word association with the image running on and off the set like a prop
man. The idea is to drag the image to center stage, turn the spotlight on it,
and watch what it does when left on its own. You “coach” it along by focus-
ing on the critical parts (those associated with the written strokes), and then
patiently wait, eyes closed, until the little magic lantern in your imagination
starts spinning and something odd, ridiculous, disgusting, arousing, or oth-
erwise memorable happens. Only then have words turned to image, and to
an image you can trust as a mnemonic. This is the crucial step in the process
you are learning here, so be sure and watch it at work.
As a test, try the following brief list, asking yourself what it was that made
the image and its critical parts particularly memorable for you when you
ta yo
su ki
There is no need to worry that so many of the same pieces keep turning up
again and again. This is done deliberately to eliminate, or at least reduce as
far as possible, the work of brute memory and let you concentrate on imag-
inative memory.
In other words, rather than clutter your memory with too many
“pieces,” I am asking you to flex your creative muscles to build up a large
number of images out of a few simple pieces.
62
Well, that’s enough about the theory. It’s time to get back to the practice.
Take note of the time and carry on with Lesson 5.
By now you should know the entire “Hiragana Song.” Let us just add a
conventional ending so as not to leave the melody hanging in the air:
It is time we clarified what this all means. The Japanese syllabary follows
an order quite different from our typical Western alphabets. Think of the
sounds as lined up in two directions. Turn to the Table of thf. kana on
page 68, and you will see what I mean.
Vertically the syllables are lined up according to the five vowel sounds
that, either on their own or in combination with a consonant, gives the
Japanese language its basic phonetic units (the solitary consonant h being
the only exception). They follow the sequence $>V '-5^.43, as in the column
on the far left. There is no need to work up a mnemonic for that sequence;
everyone I know learns it in a few seconds.
Horizontally, the syllables follow the order we learned in our little song.
Thus a dictionary will first list words beginning with $> V ' 5 x. fc , and then
63
pass on to words starting with 5, <, It, and C. . This sequence is followed
by It, *>, -o..., and so forth and so on. Now perhaps you see why it is
important to master the order of the 11 syllables we learned in our little
song. Without it, you will waste a lot of time fumbling hit-and-miss around
Japanese dictionaries.
Enough for now. Time for a good rest to prepare yourself for the final
64
Lesson 6
With this lesson you come to the end of your study. A mere 7
hiragana and 2 diacritical marks separate you from your goal of knowing
how to read and write the Japanese syllabary.
I have deliberately left for this final lesson those hiragana that you might
call “exceptions," in the sense that they entail slight distortions of familiar
pieces. Meeting them here at this late stage, at least you can console yourself
with the thought that there will not be any more of them.
— > GO TO PA GE 27 |
Time: lesson 6
The course is run. Mark down your time in the box above, and take a
minute now to add up the time in all the boxes to find out how much time
you spent learning the 5> 1 s ft . Record it in the box below. Someday you
may want to persuade someone else to learn them the same way you did,
and your record will speak for itself. The main thing, as you have no doubt
65
realized by now, is that being conscious of the clock helped you to break the
task up into digestible pieces and probably gave you some added encour-
agement along the way.
There are no more written shapes to memorize. You are finished with all
that. There are only three more things you need to know about the hira-
gana, some of them already touched on in the course of the previous les-
sons, and all of them better learned by actual use of the hiragana than by
brute memory of any “rules”: (l) the composition of diphthongs, (2) the
transcription of long vowels, and (3) the doubling of consonants. Let us
look at them, briefly, one by one.
2. Long vowels — that is, vowels that are held twice as long as normal —
are indicated by adding a ') after hiragana ending in an 0 or u sound, as
in the words £ 0 , C>Pv¥'j and Their transcription in the
roman alphabet is indicated by a macron set over the lenghtened
vowel. Thus the three words above would be written: Tokyo, judo and
3. Finally, a consonant is “doubled” much the same way that a vowel is
lengthened, namely, by doubling the time given to it. Whereas a vowel
can naturally be prolonged, doubling a consontant requires a glottal
stop. This is indicated by the inclusion of a small -0 before the conso-
nant to be doubled, as in the following examples: -t (mono) \
!3 oAH'if 9 (Hokkaido) | fe-oSh (assari). Only hiragana beginning
with the consonants k, s, I, g, z, d, b and p can be doubled this way.
Even if you are confident that you have learned the you want to
be sure that they stay learned until they have become a permanent habit —
as “second nature” to you as the alphabet is.
To begin with, you should sweep out of your mind any lingering doubts
that the achievement is beyond your reach. If you have followed this little
book faithfully, you are already well on your way to the same fluency that
the Japanese themselves have.
Next, write the as often as you can. Two things will happen the
more you write. First, you will get faster at writing and not have to stop to
66
think about how individual hiragana are constructed. Secondly, your writ-
ing will start to take on its own character, which can also mean some bad
habits. When you feel this happening, it is best to seek the guidance of
someone with a more cultivated hand who can point out what your writing
lacks in grace and elegance.
67
70
US$14.95
™:::~
(Hill III
....
R&fifg
REMEMBERING
THE KANA
Part Two
KATAKANA
James W. Heisig
Helmut Morsbach
Kazue Kurebayashi
Contents
Lesson i 53
Lesson 2 57
Lesson 3 59
Lesson 5 63
Lesson 6 65
Afterword 67
Table of diphthongs 70
Part Two
KATAKANA
W\ fa
You should now be in the middle of Lesson 3. If you are not, go at once to
page 53 and start with Lesson 1.
-77'S
33
1
T 7 ?
Supein
Spain
aisukurlmu 7 -f * 9 V — M.
A < <
A t A
o l~ffT 5
O o ***-
7L
Let the sound e stand for the air that fills the space between heaven
and earth (the two horizontal strokes). The filling of the space is indi-
cated by the single vertical line.
T X
erebsta y—
eakon x7ay
air conditioner]
X X J_
IXI
4
o
X [§J &
The only thing that distinguishes the sound ho from o is that the aspi-
rant or “h” sound is absent. The katakana reflects this by dropping
the final stroke. For this reason, * and should be learned together
as a couplet
- t *
X * A
7t * 7f
Oranda
Holland
oba
overlcoatj
KA
fla i fr 1 tj
The only real difference between the katakana and hiragana forms of
the sound ka is that the katakana again "simplifies” things by drop-
ping off the added stroke to the right. If you stop to think of it, this is
really the easiest way to do it!
7 tl
Kari
ka
f> *> t)
ti to f)
<—29 ~ ► GO TO PAGE 7
KI
* L*' t
* * *
* V
7
KU
X\ <
Take a moment to associate in your mind’s ear the sound ku with the
word scoop. Then you can associate this katakana in your mind’s eye
with the image of an ice-cream scoop (the flat kind that create slight
rounded slabs— rather like the first stroke) dropping vanilla ice
cream into your bowl of rice.
' 9
9 ? O
l PAGE 16 j
KE
*T
The only difference between the katakana pronounced ke and the one
we just learned for te is that the first stroke is taken from the top, and
set vertically on the far left. Think of the top of the postbox being
opened all the way up so that it can “take the cake” that you aunt has
mailed you for your birthday.
•! /**
| It
*T t >T
>7 'T T
e- keki
cake
kechappu
ketchup
KO 3
- 1 I]
To learn this katakana form, first draw the hiragana form once and
note the same cursive flow from the first to the second stroke that we
saw in the case of 9. Here the cursive form is changed to block form
by the addition of another stroke (making a “corner,” if you will).
cOchi =>— -f
RikO l/=>-
Ricoh
n n
n n
o n
! <— 59 -»GOTOPAGEl8
10
SA
+t | it | £
Think here of the story of King Solomon and the two feuding moth-
ers for the sound of the katakana sa. The first stroke is King’s arm,
which is holding out a little infant (the second stroke) and threaten-
ing to cut it in half, the final stroke is wise old King Solomon himself.
1 1 should not take much work to see the story in the simple doodle for
— ■*- -tf
n n n
v v- y
sarariman
salaried man
sakka
11
SHI
Here is another example of the way the cursive form needs a “dotted
line” effect for the transition from the hiragana to the katakana. It is
formed virtually the same as V, the only different being the position
and direction of the form. Learn it as you did that katakana for tsu.
'' '>
Shikago
Chicago
P eji
£/ v
> > is
«— 18 — > GO TO PAGE 46
12
su
STI t
7 7
a 7
A ^
<-28 -* goto:
23
13
SE
ta. v\ -tz
ir
Celica
-fey*
* ir t>
\> t?
til
14
As with 3r and #, the katakana for so simply drops the final stroke of
the hiragana form.
V
v V v
saseii
y y \y — ^
15
TA
0 ft 1 ^
The scoop of ice-cream (which is still very much visible in this kata-
kana form if you look at it) here has a little towel stuck to the side.
You know, the kind you get at Japanese restaurants or on airplanes.
The purpose of the towel? Why, to wipe that ce-cream off your face.
9 9
Kanada
Canada
si 9
iji-v ^ * 1
«- 8 -+ GO TO PAGE 44
l6
5 1 *> I chi
The Japanese word for 1,000 (which appears in the name of Chiba
Prefecture, meaning “t,ooo leaves," and the great sumO wrestler,
ChiyonofQji) gives us the katakana of the same pronunciation.
^ *
* 7 =F
7 )
17
TSU |l| O
] V
The hiragana form for tsu is a single flowing stroke. Try to break it up
and you will get the “broken” line effect of the first two strokes here,
so that the final stroke can be straightened out. Draw it a half dozen
times thinking of the hiragana shape as you do so and the transition
should be clear.
"/ ‘Vl
tsuna S'-f
natsu tbs'
V 'V V
31 x
19
TO
It t
The sound of this katakana suggests the image of a tow-rope (the sec-
ond, horizontal stroke) pulling something or other (the first, vertical
stroke). Doodle with the form a little and you should be able to see
the image in no time at all.
•I h
Toronto
Toronto
yoguruto
yogurt
b I' I'
h k h
;e 27 j
20
NA
- t
+ i- -h
) f )-
21
NI
Fortunately, the katakana read ni is written exactly like the kanji for
the number 2, also pronounced ni. Here again, the only difference is
that the katakana has eliminated all trace of the brush to give it its
block form.
22
NU
The bowl here turns out to be a bowl of noodles, from the sound mi.
The final stroke is in fact a single noodle that has slipped out and is
dangling from the side of the bowl, as noodles are wont to do.
&
7 -%
a ? 9
-fc—* SSnu
3 V (River) Seine
^ ^ *5t- kanu
23
NE
Jl l te ^
This may appear to be the most difficult of all of the katakana to
learn, but apply a simple trick and it becomes one of the easiest. Let
l lie sound tie suggest a naval disaster. First you draw the captain
I si rokc i ) standing on the brow of his ship (stroke 2), and then you
add 1 lie underwater reef (stroke 3) on whose rocks and crags the ship
r. about to start breaking into pieces (stroke 4). Draw the katakana
an ike by stroke repeating the image to yourself as you go.
" * ^ ^
MMIHttll
lllfllirlln
' 1 ^
24
NO
The katakana for no is derived from the first stroke of the hiragana
form. You can also think of it as a single slash, just like the slash
across signs indicating No Smoking or No Parking, or No U-Turn.
y
B_ (D
J / /
j •> ;
no
Kyanon
Canon
25
HA
The sound ha is the first syllable of hachi, the Japanese word for 8. It
is written exactly the same as the kanji for 8, only in squared form.
A 1 it
-/ / A
Habana
Havana
ba
bar
banana
t\ /' /N
A i\
26
HI
t:
The heel of a shoe should be visible here without much effort. If you
need to help, draw a long horizontal line across the top and a short
vertical line to join the two short horizontal lines below. The rest of
the shoe will fill itself in your imagination automatically.
Once again, look at the katakana form itself now and see if you can
find the heel. When you are confident that you have the image, draw
the katakana once with it in mind.
^ t
fete
K t (;
kohl
koffie (coffee)
2 7
FU
Let the sound fu suggest to you a bowl of food. The sound should be
enough for that connection, and the shape will follow from our men-
tal image of that bowl of food. To get it just make a mirror image of
the form to the left. Once you have that image in your mind, when
you look at that katakana form with the image of the bowl of food in
your mind, the blank will “fill itself in” automatically until you can
actually see the bowl. Once that is done, you know the katakana for
fu.
furamenko
flamenco
yyfl'SZi
yyv
T?9
\ 2 _* 2
28
HE
'S SI ^
'N
A ^ A
heli [copter]
ho HIT re 1 /j\
Let the sound ho suggest to you the phrase Home Sweet Home
broad-stitched and hanging in a little frame over the mantlepiece.
The form here is actually one of the little “criss-crosses” in the design
around the wording, the two extra strokes at the bottom for design
effect. Draw 3 or 4 of these katakana alongside one another on a piece
of paper and you will recognize the pattern.
* f d" rfv
botan i£ 9 's
button
bosu
* * Tfc
yft *1* 7t\
30
MA
75 £
"9 ~3 Q
Kurisumasu
SQpJman
31
MI
— , ft-
>57
32
MU
lx
As we did with the katakana for ma, here again you need only draw
the hiragana if and then immediately afterwards draw the katakana
form. Notice how the final movement follows the same flow for both
of them. If you know if, you will have no trouble with A .
t u
u ^ Cs
L> ^ Cx
ME
ftf ^ ;*
At first glance, the katakana for the sound me looks like that for the
hiragana only when you look at their common kanji origin, the char-
acter for “woman.” But try drawing the second stroke of the hiragana
on its own and you will find that it leads your hand directly through
the stroke order and positioning for the katakana.
* / *
X * X
34
MO
If for some reason, you happen to be one of those who has trouble
with the mo and find yourself coming back to this page, you might
note how it is composed of two forms you have already learned, the
hiragana L and the katakana =, and try to work that combination
into an image your mind is comfortable with.
Monako
Monaco
rimokon
remojtel con[trol]
« * =E
L ^ t
35
46
YA
tfel -fo 1 V
Just as we saw in the case of the katakana -fe , it is the second stroke of
the hiragana that is dropped for the simplified katakana form. It
you look at the two forms side by side the rationale behind the sim-
plification should be clear.
nv
V * V
36
ZL
YU
ft | Ifo
a ^ n
j )
37
YO
333
9 3 3
38
RA
7?
3*3 — 7
rabu
love
Kokakdra
Coca-Cola
^ -7
^
<- 23
-* GO TO PAGE 45
39
The character read ri is written nearly the same as the hiragana 9, the
only difference being that there is no connecting line between the two
downward strokes, even in its stylized forms. You may find it more
“natural” to follow the hiragana form and “hook” the first stroke
upwards, but remember: the katakana are block letters and are not
meant to have any cursive flow to them.
9 '/ l )
u y u
40
Hr /<■ li
)l » li
miruku
milk
Soru
Seoul
4i
RE
The katakana for the sound re is the right half of the katakana for A-,
which you just learned. Taking the same image we used there of the
dwarf’s leg with the pointed shoe at the end, you need only think of a
running race of the little creatures who have only one leg, and not so
much as a peg-leg to help them hop along.
•w
kart itv—
Naporeon 'i'i
Napoleon
U L U
a h
42
RO
Let the sound of this katakana suggest to you the image of a mass of
fish-eggs, or roe, as they are also known in English. The only differ-
ence is that they are not round but square — the reason being that
the katakana do not use rounded shapes but square everything off.
8 1 h
Q a O
□ a □
Rdma
Roma
Baruserona
Barcelona
43
WA
13 1 9
" 0
Mosukuwa
Moskva (Moscow)
9 ' 7-
n '7 n
979
44
wo
7 7
^ * =?
45
Now try your hand at making the transition from cursive to block
writing yourself. Begin with the hiragana form A/ and see if you can’t
use the “dot and straight line” effect to create the katakana character
for the sound n. You should end up with the correct shape almost
automatically.
'' >
'J
> y
46
VOICED MARK
Written exactly the same for katakana and hiragana, the voiced mark
makes a new range of sounds available. The examples below only rep-
resent the new sounds we can make from the 10 katakana we have
already learned. Other examples will follow, and a complete list can
be found in the Table of diphthongs on page 70.
Note that the voiced mark is written last, after the rest of the kata-
kana shape has been completed.
U-M
bekari
gaze
Gaze (gauze)
47
PLOSIVE MARK
Like the voice mark, the plosive mark is shared by the hiragana and
katakana. It looks the same and functions the same, with no differ-
ence. It is also written last of all. A few examples, drawn from the
katakana we already learned, follow. For the rest, see the Table of
diphthongs on page 70.
Pari
Paris
pepa
paper
48
LONG MARK
f a
ized form.
The placing of the elements will aid you later in reviewing. By opening
the book part way, you can page through and see only the romanized form,
leaving the actual katakana hidden from view.
© The original Chinese character (or kanji) from which the katakana in
question is derived.
You should not attempt to learn this kanji now, though at a more
advanced level you may find its etymological connection with the katakana
helpful for learning how to pronounce some of the kanji.
At this point, if you haven’t already done so, secure several sheets of
blocked paper with blocks at least t cm. (ill in.) square. You can find them
at any stationery store. This will help you keep the shape of your katakana
in proper balance much better than practicing on blank or simple lined
paper will.
This first lesson will teach you 8 of the katakana in about as much time as
it takes you to read the text. The reason is simple: they are all virtually
54
Lesson 2
Lp.sson 2 will take you through a mere 4 katakana, but it will also
give us a chance to introduce the plosive mark and the voiced mark, which
are used exactly as they are in the hiragana.
Lesson 3
mark" in the middle without any apparent reason. A language like English
typically accents its words by doing three things: raising the voice, punching
the syllable, and lengthening the vowel (as in the word concenTRAtion).
Japanese allows for irregular raising and lowering of the voice, but does not
punch syllables or lengthen vowels in any predictable fashion. Moreover,
Lesson 5
This lesson presents three sets of twins and one of triplets. These
are usually thought to be among the katakana most often confuses with one
other, but with a little systematic effort you will see how simple it is to keep
them apart. If you find yourself getting stuck, don't resort to “brute mem-
ory." Simply back up, close your eyes, clear your mind, and let the image
associated with the katakana you are trying to learn fix itself there. Even so
short a time as 30 seconds seems an eternity when your mind is a blank. But
have patience and the image will appear in one form or another. Only then
will it be really yours and not a mere string of words on paper.
This lesson is a long one, so be sure you are fresh and have set aside a
good block of time before you begin.
□
With five lessons nearly under your belt, it is time for another test. On the
following page you will see a list of romanized words, some of them real
Japanese words, most of them nonsensical, since we have too few katakana
at this point to run a proper drill.
Try writing their katakana equivalents in the space to the right of them
(after you have filled in your time-box above, that is).
63
hagakibe s
pamisotia i
yasegami s
sdpeka 2
Lesson 6
To wrap things up, calculate the total time you invested in learning the
65
66
Afterword
Now I am not suggesting that you go out and find yourself a teacher who
learned the kanji as an adult. Most non-Japanese teachers of kanji studied
the traditional way and are likely to lead you along the same path as a
Japanese teacher would, only less competently. There is a lot simpler way
open to you: teach yourself. You did it with the kana; there is no reason you
cannot do it with the kanji — much more quickly and efficiently than you
would in the best classroom of the best university with the best teachers.
But we leave the kanji for another day. If you have followed this method
of learning the Japanese syllabaries to the end, you deserve to applaud your-
self and sing proudly:
M *>1r i>'t£
*? » -Ur A'tt
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70